's Scores

For 183 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Kurt Cobain: Montage of Heck
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 103
  2. Negative: 0 out of 103
103 tv reviews
  1. Hannibal is thematically brilliant and dense in ways that most network television is not, but it wouldn't remotely work without its committed, incredibly talented cast. Dancy and Mikkelson continue to redefine these characters to the point that they're making them their own while Fishburne, Caroline Dhavernas, and another great guest turn by Gillian Anderson elevate the overall ensemble.
  2. Veep starts with four episodes as perfectly conceived and executed as ever.
  3. HBO’s Show Me a Hero is the TV event of the Summer, a mini-series that plays like a great American novel or a lost Sidney Lumet movie. Over six hours, writer/creator David Simon and director Paul Haggis craft a piece dense with political machinations that somehow never loses its focus on the people who get caught up in the web of public policy decisions and the people who make them.
  4. The show feels more thematically, almost philosophically, confident this year.
  5. The filmmaking always crackles. Every song choice, every intimate home movie, every personal moment--they have been carefully chosen from eight years of research for maximum impact.
  6. This is confident, clever, fantastic television. It doesn’t have a trio of characters as instantly vibrant as the three at the core of season one, and it doesn’t have a premiere episode that will make jaws drop like last time around, but the first four episodes develop into something remarkable of their own, again thematically referencing back to the last trip to the snowy North, but in its own, mesmerizing way.
  7. It is distinctly its own fascinating thing. And with the addition of great supporting performers like Frank Langella to a narrative arc that grows more captivating with each episode, it could end its third season as the best drama on television.
  8. The Knick is the most detailed show on TV, but by grounding the characters in timeless themes--addiction, class, race, desire, competition--the show transcends its undeniable craftsmanship to become something even greater, something uniquely incredible in today’s TV world. In arguably the best year of television to date, it still stands out.
  9. By the end of the season, Master of None is so confident in its tone and execution that it almost feels like a show in its fourth or fifth year.... Yes, this year of Peak TV continues. And this is one of its best shows.
  10. HBO's program is not just an actor's showcase for two greats. It is dense, complex, rewarding storytelling, heightened by a sense of location from its writer and director that is mesmerizing and a character-driven storytelling aesthetic that brings to mind great films like David Fincher's "Zodiac" and Bong Joon-ho's "Memories of Murder."
  11. As they have for three years, the blend of function and character within the dialogue is breathtaking. One of the best shows of the last several years feels as creatively vital as ever.
  12. On every level, Bryan Fuller and the team behind Hannibal are elevating what we should expect from network television.
  13. Overall, this is not a piece designed to “expose” the truth behind the OJ Simpson case. It’s more about how exposed the case was in the first place. It’s also just flat-out entertaining television, filled with strong performances from top to bottom and razor-sharp writing.
  14. With an amazing ensemble driven by great performances from top to bottom, an incredibly smart writers’ room, brilliant callbacks to the original that feel more inspired than forced, and a filmmaking style that feels as cinematic as this grand Minnesotan tragedy deserves, Fargo is one of the most addictive new shows of the year.
  15. What stuns me still about Louie is the complete unpredictability of it all as all four episodes defy TV comedy’s habit of going from point A to point B by taking viewers on another trip altogether.
  16. There’s a confidence in the writing in this episode that’s been missing the last few years, in which it sometimes felt like we were spinning our wheels.
  17. There are times when “Transparent” will run into a narrative convenience that it often seems too good for--someone stopping by a party at just the right time, someone running into someone in public, etc. Or a character will express something that seems just a bit too self-aware in an argument. I like these characters so much that I really just want to sit around and listen to them talk naturally to each other, examining the dynamics between one of the most fascinating families on TV.
  18. The memorable characters, playful tone, and subtle examination of culture, gender, and social roles continue to impress, as does the underrated ensemble, led by more confident work from Taylor Schilling than in the first season. If anything feels different, that’s it. There’s a striking sense of confidence across the board.
  19. While Rectify may rightly be called a drama, it doesn’t feel like any other.
  20. The show is often shot in a flat, predictable manner, which is likely a choice made to place emphasis on the deep emotion of the piece instead of a perceived “comic book look,” but it results in a show that has almost no visual language at all.... Luckily, it’s never dull in every other department. From Ritter’s totally engaged performance--this character could have been pure snark but she never gives into that impulse--to the aforementioned themes that Rosenberg so captivatingly weaves into her narrative, Marvel’s Jessica Jones works.
  21. Clever. This is a funny, smart comedy for fans of documentaries or even just those who wish they had more time to watch non-fiction filmmaking. In fact, Documentary Now! is so good that it should spark more interest in the very art form it satirizes but also clearly loves.
  22. It is a riveting, heartbreaking, fascinating drama, taking a subject that could easily have been turned into a Lifetime TV Movie melodrama and making it real with its subtle, character-driven grace notes and the breakneck speed of its elaborate plotting.
  23. The first episode is riveting, driven by cinema-caliber direction from Niels Arden Oplev, a razor-sharp script from Sam Esmail and a fantastic performance from Rami Malek.
  24. Better Call Saul is not only a great show in the context of the program that birthed it into existence, but would be a great show with or without Walter White.
  25. Working with a repertory cast of excellent actors, American Crime feels like one of network TV’s most essential shows. It is proof that adult drama can still work on the channels that spawned it.
  26. The writing is still incredibly crisp, so smart, and never boring, and the deeper focus on relatable emotion, particularly in the definition of the relationship between Holmes (Benedict Cumberbatch) and Watson (Martin Freeman), could even bring in new fans to this international phenomenon.
  27. The program is physical, visceral, and consistently intense. Even the dialogue sounds smarter.
  28. Few films have tapped into the seemingly conflicting emotions that exist in the human soul at exactly the same moment as HBO’s stellar Olive Kitteridge, a delicate, beautiful mini-series starring Frances McDormand, Richard Jenkins, Rosemarie DeWitt, Peter Mullan, Bill Murray and more.
  29. The first must-watch series of 2015.... Togetherness is one of those programs that starts off interestingly enough to warrant a recommendation from the premiere, but it also really improves as it goes along.
  30. Orphan Black can be a little overly reliant on camera tricks and loud music to sell its action but it’s undeniably addictive in its plotting, pushing viewers from one revelation to the next with breakneck speed that doesn't allow for consideration of plot holes.

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